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Sonic Cinema: The Making of The Bodyguard

Released Friday, 18th January 2019
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This is episode 2 of Sonic Cinema: a series looking at a few starring history’s most iconic musicians. Today — The Making of The Bodyguard.

All episodes of Hollywood in Color are heavily researched. Here are the major sources used for this episode:

Whitney directed by Kevin Macdonald (documentary)

Whitney: "Can I Be Me?" directed by Nick Broomfield and Rudi Dolezal (documentary)

Romance and Rights: The Politics of Interracial Intimacy, 1945-1954 by Alex Lubin (book)

Interracial Romance as a Staged Spectacle in "Made in America," "Bringing Down the House" and "Guess Who" by Helene Charlery (article)

Working Girls: Gender and Sexuality in Popular Cinema (Chapter 8: Music, Video, Cinema: Singers and Movie Stars) by Yvonne Tasker

Whitney Houston 1963-2012 by Robin Roberts (article)

Nationality, Race, and Gender on the American Pop Charts: What happened in the '90s? by Alan Wells (article)

Whitney is Every Woman: Cultural Politics and the Pop Star by Marla Shelton (article)

Divafication: The deification of modern female pop stars by Linda Lister (article)

A Vision of Love: An Etiquette of Vocal Ornamentation in African-American Popular Ballads of the Early 1990s by Richard Rischar (article)

‘Not black enough’: the identity crisis that haunted Whitney Houston by Steve Rose (TheGuardian.com)

Remember When Whitney Houston Got Booed for Being Too White? by Rich Juzwiak (Gawker.com)

The Two Voices of Whitney Houston by Doreen St. Félix (NewYorker.com)

The Complexities of Whitney Houston in “Whitney” by Michael Schulman (NewYorker.com)

The Soul of Whitney by Joy Duckett Cain (Essence Magazine, December 1990) transcribed by ClassicWhitney.com

Whitney Houston talks about the men in her life — and the Rumors, Lies and Insults that are the High Price of Fame by Lynn Norment (Ebony Magazine, May 1991) archived by Google Books

Sing to Me: My Story of Making Music, Finding Magic, and Searching for Who's Next by LA Reid (book)

Diana Ross: A Biography by J. Randy Taraborrelli (book)

Erased Onscreen: Where Are All the Interracial Couples? by Kevin Noble Maillard (NYTimes.com)

Music used in this episode (listed in order heard):

Theme song (intro and outro): Hombre (Instrumental) by Kevin J. Simon (marmosetmusic.com)

Waltz Opus Posthume by Blue Dot Sessions (www.sessions.blue)

Toothless Slope by Blue Dot Sessions (www.sessions.blue)

In the Back Room by Blue Dot Sessions (www.sessions.blue)

Spins and Never Falls by Blue Dot Sessions (www.sessions.blue)

Tyrano Theme by Blue Dot Sessions (www.sessions.blue)

White Limit by Blue Dot Sessions (www.sessions.blue)

Faster Faster Brighter by Blue Dot Sessions (www.sessions.blue)

Sunday Lights by Blue Dot Sessions (www.sessions.blue)

Destiny Awaits (Instrumental) by Pat Daugherty (marmosetmusic.com)

Media Cited:

clip from Guess Who's Coming to Dinner? (1967) directed by Stanley Kramer

You Give Good Love by Whitney Houston

Saving All My Love For You by Whitney Houston

How Will I Know by Whitney Houston

Greatest Love of All by Whitney Houston

I Wanna Dance With Somebody by Whitney Houston

Didn’t We Almost Have it All by Whitney Houston

So Emotional by Whitney Houston

Where Do Broken Hearts Go by Whitney Houston

Best Female Single '89 from Soul Train Awards uploaded by beyonceitis (youtube.com)

Interlude: Pledge by Janet Jackson

Rhythm Nation by Janet Jackson

Rhythmless Nation from In Living Color uploaded by Mr. Wonder (youtube.com)

I'm Your Baby Tonight by Whitney Houston

Arsenio Hall interviews Whitney Houston from The Arsenio Hall Show [aired January 4, 1991] uploaded by ZanDTV (youtube.com)

The Bodyguard (1992) - Interview - Part 1 from MTV's The Big Picture uploaded by mariah (youtube.com)

I Will Always Love You by Whitney Houston

David Foster Story behind Whitney Houston's I Will Always Love You from ABC News Nightline [aired February 2012] uploaded by vSpirit2 (youtube.com)

clip from The Bodyguard (1992)

*Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research

Hollywood in Color artwork designed by Shelby Moring

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